Tony Coan
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Posts posted by Tony Coan
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It's just a way for panavision to solve the problem of focus shift as very large apertures. If you're shooting at a stop marked in blue, use the blue focus marks. If you're shooting at a stop marked yellow, use the yellow marks.
Her problem was that when focusing wide open by eye and then stopping down, whether she should adjust her focus mark additionally. The short answer "yes".
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All the hash mark does is change the position of the aperture. Like I said, wide open is wide open and when you eye focus you want the lens all the way for minimum depth of field. If you stop it down any, the depth of field will increase. Eye focus around 50mm or longer. Shorter lenses, you'll want to tape off. I'm a little confused by what you are asking. Are you saying there are blue and yellow index for focus or, are there just the two index marks for the aperture.
http://books.google.com/books?id=r4LgHiMTM...;q=&f=false
this should link you straight to page 235, which explains how and why certain fast lenses are designed like this.
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Thanks for your reply. That is what I thought. But what that means is that a focus mark for a distance at a deep stop will not be the same for that distance at a wider aperture. Or am I wrong here? I just use the hash lines as my optimum mark and I do not need to carry out another eye focus - I just transfer the focus mark at the blue hash to the yellow hash.
Yes. you can simply transfer the mark when stopping down from below a t2 (i think?) you simply switch which hash mark you are using on the lens. As a side note, it may be a better idea to measure from the film plane to the object, using a tape measure or cloth tape, rather than always focusing by eye.
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I see. But maybe I don't understand or am not getting it. But for example, an eye sharp at 6' wide open at T1.3 will lead to me setting the 6' at the blue index mark. However it the DP wants to shoot at for example, T 4, I would need to do an eye sharp setting wide open at the yellow index mark instead?
Is this right?
Im not sure If Im understanding your question. But, If you are shooting wide open (T1.3) you would set your focus using the blue hash line, so if youre object/subject was at 6' and you were shooting at T1.3 you would set the focus ring to 6' coinciding with the blue mark. If you are shooting at a deeper stop say a T5.6 then you would use the yellow hash and set the focus ring to 6'. If he is splitting the difference between the blue mark and yellow mark on the iris then you do the same with focus. If you are focusing by eye wide open, note the focus mark, say 6' (blue line) and readjust when you stop down so 6' coincides then with the yellow line.
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Nope, it really is a professional bookseller's resource. It isn't accessible by Google, they probably requested that Google not index the site.
Just ordered. Thanks so much Hal. I owe you one.
And Rob, that copy is Steve's, Ive borrowed it a few times, but this isnt a book you can peruse and really hold onto all of the information. Steve actually keeps his around as a reference. Thanks though.
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I'm lacking a nice set of prime lenses since I've made use of the Zeiss super speeds we have at our school. Unfortunately, I won't be able to use them for free after graduating.
You shouldn't list gear that is not your own on your website.
If you want to be a cinematographer, then at least attempt to commit yourself to that, although working your way up through G&E and/or Camera is a good way to get the real world experience and contacts to make the leap.
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Use less and lighter batteries, go with ab dionic 90's or something with less mass at the bottom of the sled.
I know the flyer comes with a low mode bracket that grips a camera handle then has a geared cheese plate on it, you can just throw the low mode bracket on and tape spare batteries/lead fishing weights/ect to the cheese plate. This is assuming its not a low mode shot.
Getting a weight plate is however the best option, maybe reach out to smaller rental houses/steadicam ops and see if you can just rent the weight plates if you cant get them made.
EDIT:
post this on the steadicam forum and maybe someone will be generous enough to offer them to borrow/rent.
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Abebooks has a single copy however the price is US$305!
www.abebooks.com
H.
Im willing to pay over msrp for a very worn copy, but $305 is just way out of my price range.
Thanks though!
Anyone else?
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Unable to locate it online or anywhere else for that matter. If anybody has a copy they would be willing to part with for a reasonable price please let me know.
Or if anyone has seen a copy somewhere and could recommend to me where they saw it.
Thanks!
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hello.
the stabilizer is not complete.its missing the second part (almost identical to the one of the picture) and the handles connecting the two parts.(at least thats how my set is maybe this is another version).
How much for the lights (with their clips) only?
thank you
how much for the camera, shipped to the united states?
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I just noticed C-Motion is introducing a software update for the use of their FIZ units for 3-D. Here is an article.
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Hey guys,
I'm sorry, but I couldn't understand what you're talking about when you're saying 9 6 or 9 9.
Reading Tony, I guess there's something with perforations...
Can someone enlighten me about it ?
Thanks !
It is not a perf thing. When looking at a loaded 235 mag that is opened in front of you, the spool side is shaped like the number "9", with film moving in a clockwise direction. The take up side, is shaped like a "P" with film also moving in a clockwise direction. The circles on the letters represent the cores, and the tails represent the direction of the film. On panavision magazines they are loaded with the take up side winding in the counter clockwise direction, creating what would be called a "9 9" magazine. I realized this is much harder to explain without having two mags to show someone.
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Is anyone aware of a trainee program for 600?
I contacted Chaim Kantor of the 600 NYC last year, and he responded saying that there isnt currently a trainee program in the 600. however maybe its different on the west coast.
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I couldn't find a diagram in my manual. Is it 9 6 or 9 9?
anybody have a pictures of the insides of this mag?
Its a 9P magazine. same basic threading as a 435 magazine, just the take up side is placed further back into the design, so that it sits over your shoulder.
http://www.arri.de/camera/35_mm_film/arrif...235.html#_blank
go to downloads then click Arri 235 Manual PDF, for magazine loading diagrams and pictures.
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Some brief updates on Adrian Life:
BoS has moved into editorial, so hopefully I'll get clearances to post stuff soon[er or later].
On top of that I got hired onto 2 more features for certain (end of this month and end of sept) one 35mm and another on the XDCam, so that's exciting in a frightful way. The other XDCam shoot is based off of an actor from Birth of Separation who was impressed with what I did and had a project kicking around. Can't complain about that.
I'm also pretty certain I'm on another Feature, but still need to submit my "bid," on it [and finish reading that script...]. It's a comedy which I'm looking forward to a bit after BoS and "The Hatred," which is from the actor which is similar in the torture dark, dank look/feel/thought etc.
A side note I learned recently, anecdotal, of course, but it's damned frightening thinking I am perhaps right on the cusp of a real "career" doing this. My dad worked in the industry for years so I recall seeing the stresses and physical toll it'll take on me eventually. And maybe I'm just too stubborn and stupid, but, I'm almost looking forward to the stresses of wondering "what if I don't work this month?" It seems to be just about time to ditch the day-job and take up prayer!
Oh also, I'm perhaps thinking of just doing a "lump" production journal on my future projects; thoughts?
I would read them. What is the 35mm feature? What camera(s) are you using?
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It is rather easy and obvious. Look at the back of the camera and you will see the shutter angle adjustment knob.
But to quote the professional cameramans handbook.
"To Change shutter opening.
1. Pull safety locks at side of external control knob and move them aside.
2. Pull out external control latch and move indicator to desired shutter opening, close latch, make certain that pin is engaged.
3. Move each saftey lock against each side of the external control knob to prevent accidental opening or closing of the shutter."
I also remember some panavision cameras have a shutter lock lever, inside the camera, towards the top above the movement.
Hope this helps!
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I grew up in the pine barrens, im not totally sure of the look you are going for. But i have seen desolate sandy areas throughout this area.
Check out forked river mountain, which also has alot of old desolate clay quarry's in the same area.
If i had more time i would try to go out and get some pictures, but the next few weeks are very busy for me.
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So I am helping a friend out this weekend, SR3 and the beach.
Never shot on the beach before.
The film is a very short narrative.
We will be using a splashbag for some parts.
And I have friday to checkout.
Any tips/hints/suggestions?
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What is the title of the book?
arriflex 435 book.
http://www.filmtools.com/ar435bookbyj.html
one thing to remember is that when you change the shutter angle via the rcu when ramping, when you unplug the rcu the shutter will stay at the last angle you had set. so be sure to double check that before shooting again.
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panavision makes another version, called that panatape. Like other pana products im pretty sure you cannot buy it, however i feel like it seems to be used by quite a few ac's as a backup, not something to always judge your marks off of, as it can be tricked.
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I am looking for a good co-op job, at the school i go to we have to do two trimesters of a co-op (internship) in order to gain real world experience. I am hoping to get in the camera dept. somewhere as an intern. When im out of school i want to work as camera assistant and work my way up to be an operator. I have a resume of pa and grip work, with some mini dv operation. I have experience in 16mm just not paid work. I go to school in philly but nyc and la are both options. Does anyone have any advice about where to look, who to contact, or anything that i might find useful. Any help is appreciated.
Myth
in In Production / Behind the Scenes
Posted
Rob,
This looks great, I especially like the spill behind the cop in the first frame grab. Keep up the good work man, hope to see you soon.